Film history, theory or criticism Books

Book SynopsisPresents a feminist study of the representations of black women in the literary, cultural, and scientific imagination of nineteenth-century France. Employing psychoanalysis, feminist film theory, and the critical race theory, this book presents an argument that black women historically invoked both desire and primal fear in French men.Trade Review“A cogently argued study of representations of black women in French literature. In locating the Black Venus and the ideologies surrounding and informing her representations at the center of literary and cultural narratives, this book makes significant interventions in nineteenth-century French studies and current race and gender studies.”—Thadious M. Davis, Vanderbilt University“Intellectually rigorous, extremely well written, and solidly arguing against the dated French (and European) conceptualizations of black female sexuality. What a refreshing and much needed addition!”—Marjorie Attignol Salvodon, Connecticut CollegeTable of ContentsList of Illustrations ix Acknowledgments xi Introduction: Theorizing Black Venus 1 Writing Sex, Writing DIfference: Creating the Master Text on the Hottentot Venus 16 Representing Sarah- Same Difference or No Difference at All? La Vénus hottentote, ou haine au Françaises 32 "The Other Woman": Reading a Body of Difference in Balzac's La Fille aux Yeux d'or 42 Black Blood, White Masks, and Négresse Sexuality in de Pon's Ourika, l'Africaine 52 Black Is the Difference: Identity, Colonialism, and Fetishism in La Belle Dorothée 62 Desirous and Dangerous Imaginations:: The Black Female Body and the Courtesan in Zola's Thérèse Raquin 71 Can a White Man Love a Black Woman? Perversions of Love beyond the Plae in Maupassant's "Boitelle" 86 Bamboulas, Bacchanals, and Dark Veils over Whtie Memories in Loti's Le Roman d'un spahi 91 Cinematic Venus in the Africanist Orient 105 Epilogue 119 Appendix: The Hottentot Venus, or Hatred of Frenchwomen 127 Notes 165 Works Cited 177 Index 185

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Book SynopsisProminent political theorist defends democratic pluralism as a political stanceTrade Review“Pluralism is a brilliant study. Powerful, cogent, and compulsively readable, it presents a strong case for a democratic pluralism that is worthy of embrace by all who think the fundamentalism of our age needs to be countered, not with more of the same from another direction, but with the best-articulated and most profoundly true vision of another way of being together politically. If taken up, this book will change hearts and minds.”—Thomas Dumm, author of A Politics of the Ordinary“Pluralism is a practical intervention in the politics of antagonism in liberal democracies. William E. Connolly’s openness to religious ways of being in the world is unusual in a political theorist. But that openness allows him to draw on a wide range of resources for practices of agonistic engagement among political rivals. Connolly has an exceptional ability to plumb ordinary experiences for nuances that help one to realize virtues of faith, forbearance, and respect. Here are agile reflections on how we might become better than we are. And, as ever, Connolly’s style is warm, eclectic, honest, accessible, and somehow distinctly American.”—Kathleen Roberts Skerrett, Department of Religious Studies, Grinnell College“If I were to pick an academic text as my political manifesto, if I were to look for a scholarly piece of writing which combined intellectual rigor and humility with incisive political analysis and practical effects, then Bill Connolly’s Pluralism would be the one. It will become the touchstone for a range of debates in political theory around democracy, global politics, and the political virtues we require.”—David Campbell, author of Writing Security: United States Foreign Policy and the Politics of Identity“William E. Connolly pursues his impassioned search for a renewed pluralism, beyond mere tolerance. In a world beset by easy answers and hard action, he argues eloquently for a ‘multidimensional’ ethos of openness, in acceptance of complexity. Against doctrine, secular or religious, he refinds faith—in this world. A significant new philosophical statement by one of the foremost political thinkers of our time.”—Brian Massumi, author of Parables for the Virtual: Movement, Affect, Sensation“[The book] helps us understand the complex ways in which the pluralist sensibility opens the path to a richer and more psychologically realistic liberalism.” -- William A. Galston * Perspectives on Politics *“Connolly offers a concise new defense of democratic pluralism.” -- M. Coulter * Choice *“Over the past twenty years or so,William E. Connolly has compiled a richly complex and highly original theory of deep pluralism. Calling upon each of us to recognize the contestability of our most basic commitments, Connolly has sought to articulate a set of civic virtues that can inspire a generous, progressive, and agonistic democratic culture.His latest contribution is an attempt to consolidate the core of his work into a single volume, rendering his political vision both succinct and widely accessible. . . . Pluralism is a fascinating read.” -- Andrew J. Douglas * Journal of Politics *“William Connolly has been one of the most perceptive and creative political theorists writing about pluralism over the past fifteen years. In this new book he draws together the various different strands he has been weaving into a compact, intense, yet accessible assemblage of arguments, concepts, analogies, and metaphors defending a new vision of democratic pluralism. What is distinctive about Connolly’s approach could be summarized thus: his argument is political and metaphysical.” -- Duncan Ivison * Political Theory *Table of ContentsAcknowledgments vii Prelude 1 1. Pluralism and Evil 11 2. Pluralism and Relativism 38 3. Pluralism and the Universe 68 Interlude 93 4. Pluralism and Time 97 5. Pluralism and Sovereignty 131 Postlude: Belonging to Time 161 Notes 171 Index 187

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Book SynopsisThis volume offers introductions to the work of fifteen avant-garde American women filmmakers.Trade Review“Women’s Experimental Cinema is an invaluable resource for students and devotees of experimental cinema and feminist film, fields defined by remarkable films and a dearth of critical attention. It brings to light the social and political roots and cultural impact of women’s experimental film, and the specific female, feminine, and feminist practices of an exceptional group of women artists.”—Alexandra Juhasz, editor of Women of Vision: Histories in Feminist Film and Video“This definitive volume on U.S. women’s experimental cinema fills a significant and long-lamented gap within film studies, and in feminist film studies in particular. Together, these essays offer us a richly nuanced picture not only of women’s experimental film but of avant-garde filmmaking in general from the 1940s to the present.”—Sharon Willis, author of High Contrast: Race and Gender in Contemporary Hollywood Film“A truly remarkable collection on feminist independent cinema, this is one of the most comprehensive and well thought out books on the subject to appear to date. . . . [T]he book moves from strength to strength to create a collection that is as cohesive as it is authoritative. . . . Well illustrated with behind-the-scenes production shots and frame blow ups from the films themselves, and written by some of the most gifted critics working in the field today, this collection is both deeply felt and rigorously detailed. Essential. All readers, all levels.” -- W. W. Dixon * Choice *Table of ContentsAcknowledgments ix Introduction: Women’s Experimental Cinema: Critical Frameworks / Robin Blaetz 1 Swing and Sway: Marie Menken’s Filmic Events / Melissa Ragona 20 Different/Same/Both/Neither: The Polycentric Cinema of Joyce Wieland / Paul Arthur 45 Evacuating Visual Fields, Layering Auditory Frames: Signature, Translation, Resonance, and Gunvor Nelson’s Films / Chris Holmlund 67 Moving and Moving: From Minimalism to Lives of Performers / Noel Carroll 89 Eye/Body: The Cinematic Paintings of Carolee Schneemann / M.M. Serra and Kathryn Ramey 103 “Absently Enchanted”: The Apocryphal, Ecstatic Cinema of Barbara Rubin / Ara Osterweil 127 Amy Greenfield: Film, Dynamic Movement, and Transformation / Robert A. Haller 152 Barbara Hammer: Lyrics and History / Chuck Kleinhans 167 Chick Strand’s Experimental Ethnography / Maria Pramaggiore 188 Amnesis Time: The Films of Marjorie Keller / Robin Blaetz 211 In the Ruins of the Image: The Work of Leslie Thornton / Mary Ann Doane 239 Sounds, Intervals, and Startling Images in the Films of Abigail Child / Maureen Turim 263 Peggy’s Playhouse: Contesting the Modernist Paradigm / William C. Wees 290 Su Friedrich: Breaking the Rules / Janet Cutler 312 The Experimental “Dunyementary”: A Cinematic Signature Effect / Kathleen McHugh 339 Women’s Experimental Cinema: Some Pedgogical Challenges / Scott Macdonald 360 Appendix: Film Distribution 383 Bibliography 385 Contributors 401 Index 405

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Book SynopsisKara Keeling contends that cinema and cinematic processes had a profound significance for twentieth-century anticapitalist Black Liberation movements based in the United States. Drawing on Gilles Deleuze’s notion of “the cinematic”—not just as a phenomenon confined to moving-image media such as film and television but as a set of processes involved in the production and reproduction of social reality itself —Keeling describes how the cinematic structures racism, homophobia, and misogyny, and, in the process, denies viewers access to certain images and ways of knowing. She theorizes the black femme as a figure who, even when not explicitly represented within hegemonic cinematic formulations of raced and gendered subjectivities, nonetheless haunts those representations, threatening to disrupt them by making alternative social arrangements visible.Keeling draws on the thought of Frantz Fanon, Angela Davis, Karl Marx, Antonio Gramsci, and others inTrade Review“Kara Keeling offers a tour de force extension of Deleuze’s writings: she understands cinema as a form of thought, as well as a motor of a shared sensorium, capable of numbing repetition as well as provocative alternative visions. No ‘Deleuzeobabble’ here, though, just sweet grooves and careful readings. With lucid and piercing argument, Keeling is a serious critic of black visual culture, following a line of powerful litanies for survival from Frantz Fanon to Angela Davis to Fred Moten.”—Amy Villarejo, author of Lesbian Rule: Cultural Criticism and the Value of Desire“There is a special alchemy at work in this wonderful project that transforms painstaking research and original theoretical insight into a superb understanding of the cinematic’s deeply cathected relation to blackness, gender, and sexuality. Kara Keeling watches, reads, and stitches together a tapestry that teaches us how to re-read and re-think what we thought we knew already of visual culture, of the peculiarities of our social order’s self-imagination, and of the survival of black femme desire.”—Wahneema Lubiano, editor of The House that Race Built“Methodologically, The Witch’s Flight fits squarely on the shelf with other film, visual, and media studies scholarship while also straddling critical U.S. historiography, queer theory, women’s studies, and critical race studies. And yet, its methodology represents more than an example of interdisciplinarity precisely because it uniquely embodies a field of thought working to understand its own implication in reproducing global capitalism, neoliberalism, and the ruse of representation.” -- Stacy I. Macías * GLQ *"[A] rich, provocative, deeply personal book. . . . Keeling's work is revelatory and refreshing; this is a book that continually engages the reader. Highly recommended.” -- G. A. Foster * Choice *"Keeling’s book is an astonishing example of how to do things with film and feminism.... Evidence that feminist film theory not only changes how you see the world, but changes the world itself." -- Sophie Mayer * British Film Institute *Table of ContentsAcknowledgments ix Introduction: Another Litany for Survival 1 1. The Image of Common Sense 11 2. In the Interval 27 3. “In Order to Move Forward”: Common-Sense Black Nationalism and Haile Gerima’s Sankofa 45 4. “We’ll Just Have to Get Guns and Be Men”: The Cinematic Appearance of Black Revolutionary Women 68 5. “A Black Belt in Bar Stool”: Blaxploitation, Surplus, and The L Word 95 6. “What’s Up With That? She Don’t Talk?”: Set It Off’s Black Lesbian Butch-Femme 118 7. Reflections on the Black Femme’s Role in the [Re]production of Cinematic Reality: The Case of Eve’s Bayou 138 Notes 159 Bibliography 195 Index 203

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Book SynopsisAn investigation of the cultural practices and belief systems of Los Angelesbased film and video production workers.Trade Review“Production Culture offers a unified and thought-provoking interpretation of Hollywood’s cultural residues while also interfacing with the discourses reproduced by its workers and the processes of production in which these workers engage. What is more, this work calls attention to the fact that one need not be an anthropologist, or even an academic, to ‘do ethnography.’” - Sasha David, American Ethnologist“For anyone interested in real 'behind the scenes' information regarding film and television production, Production Culture will prove invaluable. It should also encourage an overdue reality check tilting critical attention away from over-hyped auteur analysis, and help give credit where credit is due in terms of who and what goes into increasingly complex media production.” - Sean Maher, M/C Reviews“Production Culture treats the film and television industries as important sites of cultural meaning that can enrich investigations of film and television texts, their production, and their reception. . . . Production Culture is ground-breaking in scope and ambition. . . .” - Travis Vogan, Journal of Popular Culture“The strengths of Production Culture are numerous and Caldwell provides a compelling study of an industry in flux. . . . Production Culture is a valuable addition to the growing literature exploring creative work and, in some senses, has opened a can of worms by exposing the potential for future work in this area. Many of the insights and conclusions drawn could be applied to the contemporary workplace more broadly, therefore its value moves beyond media and film studies to the sociology of work, industrial practices and management studies.” - Maggie Magor, Media, Culture, & Society“[T]he research itself is very insightful and there is much of value in the book. Caldwell skillfully negotiates the complications of studying an industrial culture that already invests significant efforts in producing analysis and critical knowledge about itself. He also rightly stresses the importance of this type of work in the field of film studies, noting ‘the need to reconsider how we study and understand cultures of production’ (342). As such, his work provides important tools for film scholars who would use industry materials as secondary sources in their analyses of individual films.” - Heather Macdougall, Scope“Production Culture is a stunningly original contribution to film and television studies. John Thornton Caldwell’s argument—that we can learn a lot about the production of culture by looking at the cultures of production—is borne out in an analysis that ranges across texts, populations, and institutional and physical spaces. This is a superb book.”—Anna McCarthy, author of Ambient Television: Visual Culture and Public Space“John Thornton Caldwell’s study of ‘production cultures’ adds enormously to our knowledge of a larger media culture. Descriptions of proper ‘uniforms’ for ‘pitch meetings,’ executive autobiographical narratives, trade press accounts—such details, large and small, become sites for rich analysis. The result is a distinct perspective on how television and film are created and, more significantly, on how the creators understand and explain their work.”—Horace Newcomb, Director of the Peabody Awards and Professor of Telecommunications, University of Georgia“Production Culture offers a unified and thought-provoking interpretation of Hollywood’s cultural residues while also interfacing with the discourses reproduced by its workers and the processes of production in which these workers engage. What is more, this work calls attention to the fact that one need not be an anthropologist, or even an academic, to ‘do ethnography.’” -- Sasha David * American Ethnologist *“Production Culture treats the film and television industries as important sites of cultural meaning that can enrich investigations of film and television texts, their production, and their reception. . . . Production Culture is ground-breaking in scope and ambition. . . .” -- Travis Vogan * Journal of Popular Culture *“[T]he research itself is very insightful and there is much of value in the book. Caldwell skillfully negotiates the complications of studying an industrial culture that already invests significant efforts in producing analysis and critical knowledge about itself. He also rightly stresses the importance of this type of work in the field of film studies, noting ‘the need to reconsider how we study and understand cultures of production’ (342). As such, his work provides important tools for film scholars who would use industry materials as secondary sources in their analyses of individual films.” -- Heather Macdougall * Scope *“For anyone interested in real 'behind the scenes' information regarding film and television production, Production Culture will prove invaluable. It should also encourage an overdue reality check tilting critical attention away from over-hyped auteur analysis, and help give credit where credit is due in terms of who and what goes into increasingly complex media production.” -- Sean Maher * M/C Reviews *“The strengths of Production Culture are numerous and Caldwell provides a compelling study of an industry in flux. . . . Production Culture is a valuable addition to the growing literature exploring creative work and, in some senses, has opened a can of worms by exposing the potential for future work in this area. Many of the insights and conclusions drawn could be applied to the contemporary workplace more broadly, therefore its value moves beyond media and film studies to the sociology of work, industrial practices and management studies.” -- Maggie Magor * Media, Culture & Society *Table of ContentsAcknowledgments vii Introduction: Industry Reflexivity and Common Sense 1 Chapter 1: Trade Stories and Career Capital 37 Chapter 2: Trade Rituals and Turf Marking 69 Chapter 3: Trade Images and Imagined Communities (Below the Line) 110 Chapter 4: Trade Machines and Manufactured Identities (Below the Line) 150 Chapter 5: Industrial Auteur Theory (Above the Line/Creative) 197 Chapter 6: Industrial Identity Theory (Above the Line/Business) 232 Chapter 7: Industrial Reflexivity as Viral Marketing 274 Conclusion: Shoot-Outs, Bake-Offs, and Speed Dating (Manic Disclosure/Non-Disclosure 316 Appendix 1: Method: Artifacts and Cultural Practices in Production Studies 345 Appendix 2: A Taxonomy of DVD Bonus Track Strategies and Functions 362 Appendix 3: Practitioner Avowal/Disavowal (Industrial Doublespeak) 368 Appendix 4: Corporate Reflexivity vs. Worker Reflexivity (The Two Warring Flipsides of Industrial Self-Disclosure) 370 Notes 373 Works Cited 433 Index 445

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Book SynopsisExplores the boundary between cinema and photography. Engaging still, moving, and ambiguous images from a wide range of geographical spaces and historical moments, this book addresses issues of indexicality, medium specificity, and hybridity as they examine how cinema and photography have developed and defined themselves.Trade Review“Still Moving engages new debate in a field central and crucial to cinema, media, and cultural studies. The collection explores the nature of photography and cinema both before and after the advent of digital media. As a result, some stunning work—on acceleration and simulation, on filming and editing in photographic and electronic media, on the fortunes of memory and oblivion, and on the dialogue and conflict of technologies—emerges from the tension of still and moving images.”—Tom Conley, author of Cartographic Cinema“Still Moving maps out various interesting directions, trends, and tendencies inspired by the fact that moving-image media are losing their coherence, spinning out and recombining in interesting ways. In doing so, it opens up a number of fresh paths for examining what film and photography, as well as cinema studies and art history, will become. It will be widely read and discussed in the worlds of art and film, the classroom, the museum, and the gallery.”—D. N. Rodowick, Professor of Visual and Environmental Studies and Director of Graduate Studies in Film and Visual Studies, Harvard UniversityTable of ContentsAcknowledgments vii Introduction / Karen Beckman and Jean Ma 1 One. Beyond Referentiality 1. What's the Point of an Index? or, Faking Photographs / Tom Gunning 23 2. "The Forgotten Image between Two Shots": Photos, Photograms, and the Essayistic / Timothy Corrigan 41 3. Structural Film: Noise / Juan A. Suárez 62 Two. Nation, Memory, History 4. An Essay on Calendar / Atom Egoyan 93 5. Photography's Absent Times / Jean Ma 98 6. The Idea of Still / Rececca Baron, interviewed by Janet Sarbanes 119 7. Crash Aesthetics: Amores Perros and the Dream of Cinematic Mobility / Karen Beckman 134 8. Surplus Memories: From the Slide Show to the Digital Bulletin Board to Jim Mendiola's Speeder Kills / Rita Gonzalez 158 Three. Working Between Media 9. Photography's Expanded Field / George Baker 175 10. Weekend Campus / Nancy Davenport 189 11. Aleph Beat: Wallace Berman between Photography and Film / Louis Kaplan 196 12. Mental Images: The Dramatization of Psychological Disturbance / Zoe Beloff 226 13. Concerning "the Photographic" / Raymond Bellour 253 References 277 Contributors 293 Index 297

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Book SynopsisDarkening Mirrors analyzes the complicated relationships between African American identity, as reflected in performances, and the forces of imperialist and racial oppression.Trade Review"Darkening Mirrors is a powerful argument that during the 1930s, African American popular performers took part in U.S. imperial and nationalist projects even as they resisted the dominant culture's racism. In vivid, illuminating readings of films and stage shows—from The "Swing" Mikado and the Federal Theater Project's 'voodoo' Macbeth to Katherine Dunham’s concert ballet L'Ag'Ya—Stephanie Leigh Batiste makes her case stick, and she makes it sting. At the same time, she writes beautifully about how black Americans asserted the genius of African and Afro-diasporic arts on the national and transnational scene."—Joseph Roach, Yale University"Darkening Mirrors is an important contribution to thinking about what has been, until now, an undertheorized subject: black Americans' complicity in imperialist discourse. Stephanie Leigh Batiste covers drama, film, and dance; analyzes texts that have received little critical attention; and brings the insights of postcolonial, critical race, performance, and theater studies to bear on complex issues of power, desire, imperialism, aesthetics, and racial solidarity. Her nuanced readings of Depression-era performances show not only how African Americans were implicated in the quest to solidify American imperialism and the colonization of the 'racial other,' but also how they rejected those same projects through performance practices including costume, set design, speech, movement, and music."—E. Patrick Johnson, author of Appropriating Blacknesss: Performance and the Politics of Authenticity"In Darkening Mirrors, Stephanie Leigh Batiste rigorously explores black Americans' complicity in imperialist discourse at the height of the Depression era. She makes an important, enlivening contribution to a growing body of scholarship examining some of the more complicated and ambiguous political affiliations of black cultural producers of the nineteenth century and early twentieth. This is a tremendously provocative study."—Daphne Brooks, author of Bodies in Dissent: Spectacular Performances of Race and Freedom, 1850–1910“What separates Batiste’s work from the existing literature is her ability to pinpoint how modern black film, theater, and dance performances repurposed normative gazes, racist imagery, and dominant narratives to relocate black identities from the margins to a reimagined center.... Batiste achieves an impressive balance....” -- Marvin McAllister * Journal of American History *“Throughout, [Batiste’s] analysis is rich and meticulous, grounded in and facile at negotiating and nuancing the subtleties of racial and postcolonial theory. Indeed, by demonstrating the variety of ways that black performers in this period not only engaged but also expanded, refined, challenged, and subverted the meaning of blackness in American culture, Batiste’s book itself 'performs' important cultural work.” -- Lori Duin Kelly * Journal of American Culture *“Darkening Mirrors provides insightful detailed critical commentary on theatricality and aesthetics as well as a wealth of details on the milieu and audience responses, with concentrated attention to issues related to empowerment and disempowerment. Batiste is especially strong in revealing the complicated duality for blacks in assuming the imperial culture and protesting against it.” -- Sandra M. Mayo * New Theatre Quarterly *“Resisting simplification at every turn, Darkening Mirrors deftly describes the complicated negotiations Depression-era African-American performers entered into with the hopes of incorporating themselves within a national body…. Darkening Mirrors is a thoughtful and rigorous study of an underexamined era of black performance. Batiste’s book not only draws attention to an all-too-frequently neglected body of work, it also offers a theoretical corrective to the impulse to position black cultural workers as either heroes or villains.” -- Soyica Diggs Colbert * Theatre Research International *“What makes Darkening Mirrors an important contribution to postcolonial studies, performance studies and area studies is that it strengthens our empirical understanding of black performance past and present so as to better theorize both temporalities. Batiste implicitly expands our understanding of the governmentalities that structure modernist artistic discourse in the twentieth century. In the end, Darkening Mirrors skilfully brings together the aesthetic and national to deepen our understanding of these operations.” -- P. Khalil Saucier * Interventions *Table of ContentsList of Figures ix Prologue xi Acknowledgments xix Introduction 1 1. "Harlem Rides the Range": Expansion, Modernity, and Negro Success 27 2. Epaulets and Leaf Skirts, Warriors, and Subversives: Exoticism in the Performance of the Haitian Revolution 70 3. Prisms of Imperial Gaze: Swinging the Negro Mikado 115 4. Lens/Body: Anthropology's Methodologies and Spaces of Reflection in Dunham's Diaspora 165 5. Ethnographic Refraction: Exoticism and Diasporic Sisterhood in The Devil's Daughter 201 6. No Storm in the Weather: Domestic Bliss and African American Performance 228 Epilogue 256 Notes 261 Bibliography 299 Index 317

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Book SynopsisCinema of Actuality analyzes Japanese avant-garde filmmakers' struggle to radicalize cinema in light of the intensifying politics of spectacle and a rapidly changing media environment, one that was increasingly dominated by television.Trade Review"Cinema of Actuality demonstrates that—despite the copious scholarship on Japanese films of the 1960s and 1970s—we know less about this period than we think. Yuriko Furuhata provides crucial new insights, deftly placing the films in the context of the era's media mix, while introducing us to the theoretical writings underpinning the filmmakers' creative practices. The result is a vital contribution to the history of film theory."—Abé Mark Nornes, author of Forest of Pressure: Ogawa Shinsuke and Postwar Japanese Documentary"Cinema of Actuality is a tour de force, a potentially field-changing intervention in Japanese film studies, TV and media theory, and the study of postwar world film culture. Yuriko Furuhata shows that during the 1960s and 1970s, major political events and their portrayal in the media formed the basis for an entire Japanese cinema. At the same time, she poses vital questions about media theory and representation more broadly. This is a singularly important work."—Akira Mizuta Lippit, author of Ex-Cinema: From a Theory of Experimental Film and Video"At last there's a book that reads the Japanese cinema of the 1960s and 1970s in a cross-media context and with a rigorous historical and theoretical eye. Elegantly and precisely argued, this is a book that is both exemplary and surprising. From manga to militant cinema, from landscape theory to pink film, Yuriko Furuhata gives readers the discursive and political history that allows a new understanding of the Japanese film and media of this era."—Miryam Sas, author of Experimental Arts in Postwar Japan: Moments of Encounter, Engagement, and Imagined Return"Artists often make great sociological commentators, and Furuhata’s book sheds new light on the insights of these filmmakers.... [a] compelling and necessary addition to cinema scholarship." -- Lyle Sylvander * JQ Magazine *“Studies that grapple with the complexities of cross-cultural analysis are few… the author is well qualified to achieve an excellent addition to the literature.” -- Mike Leggett * Leonardo Reviews *“[A] remarkably researched and argued case for Japan's complex theoretical contributions to the field of cinema studies…. The totality of Furuhata's work is a benchmark of attained, wide-reaching scope that any serious academic work should ascribe to achieve.” -- Clayton Dillard * Slant Magazine *“Furuhata convincingly sketches the intellectual and social environment that gave birth to some of Japan’s most distinctive films.” -- Alexander Jacoby * TLS *"Adds significant depth, nuance and context to a topic that has, for good reason, long captivated an audience of cinephiles, activists and researchers." -- Steven Ridgely * Pacific Affairs *"Furuhata … brilliantly analyses a radical movement whose effects can be traced in contemporary film, anime, manga, and television representations. Cinema of actuality sets a new standard of scholarly excellence in Japanese film studies and is a book to go on all our reading lists." -- Dolores P. Martinez * Anthro Forum *“Cinema of Actuality highlights the many ways the cinematic avant-garde was deeply concerned with the rise of the broadcast political spectacle. This attention to the contemporaneous gives the book itself a strong feeling of ‘actuality,’ and the richly detailed contexts it offers will have a profound impact on our understanding of this ‘season of image politics.’” -- Paul Roquet * Japan Forum *"Fascination with actuality is alive and well, in social media and on the streets, where we find old vanguards among the fresh faces of counter-politics. Although the media platforms have changed, this continuity suggests that the reach of Furuhata’s insightful analysis in this book may be far greater than the period it covers." -- Mariko Shigeta Schimmel * Monumenta Nipponica *Table of ContentsAcknowledgments vii Introduction 1 1. Intermedial Experiments and the Rise of the Eizo Discourse 13 2. Cinema, Event, and Artifactuality 53 3. Remediating Journalism: Politics and the Media Event 88 4. Diagramming the Landscape: Power and the Fukeiron Discourse 115 5. Hijacking Television: News and Militant Cinema 149 Conclusion 183 Notes 203 Bibliography 239 Index 255

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Book SynopsisThe world-renowned filmmaker, artist, and critical theorist Trinh T. Minh-ha discusses the potentials and impact of new technology on cinema culture and explores its effects on creative practice.Trade Review"In a world of intervals—spaces between things—Trinh has the unique ability to connect things and to articulate their interdependence. Presence requires absence, something nothing, reality illusion, and being nonbeing. Trinh's perspective enables her to shed considerable light on the way digital technology 'impacts upon the foundation of our knowledge and upon our perceptions of the world.'" -- John Belton * Film Quarterly *"Trinh meditates on the complex interrelations between individual selves speaking from unique and particular places in space and time . . . between speakers-writers and readers-hearers. I would argue that embedded in that meditation are the traditional philosophical issues of nature of self, reality, and knowledge. Most important, however, Trinh touches on what I take as the core essence of philosophy, the reinvention of thought adequate to a changing world." -- Andrea Nye * Hypatia *“On formal grounds alone, D-Passage achieves a miraculous level of pushing the basis of academic publishing forward and calls into question the motivations behind any kind of ‘safe’ work, be it in the name of art or academia. Fortunately, Trinh is not only a provocateur in the best sense, but also a rigorous intellectual who is fully capable of managing experimental approaches without allowing these potentially unwieldy attempts to overwhelm the content of her work. Even better still – she appears to have a wicked sense of humor about it all.” -- Clayton Dillard * Journal of American Culture *"Trinh consistently challenges the readers to deform and form their understandings of digital arts and film, particularly in thinking of the impact of technology on the spirit of cinema. D-Passage transcends the clarity that academic discourse demands and makes itself readable for those who are willing to take up the challenge." -- Arezou Zalipour * Media International Australia *Table of ContentsAcknowledgments vii I. Prelude Lotus Eye (Reading Miyazawa Kenji and Making Night Passage) 3 II. Script Night Passage (Film Script) 21 III. Conversations A Sound Print in the Human Archive with Sidsel Nelund 65 The Depth of Time with Alison Rowleyo 89 What's Eons New? with Rosa Reitsamer 121 The Politics of Forms and Forces with Eva Hohenberger 141 IV. Installation L'Autre marche (The Other Walk) 171 L'Entre-musée: The World, with Each Step with Elvan Zabunyan 183 Illustrations, Filmography, and Distribution 205 Index 207

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Book SynopsisTrade Review"This meticulously researched book expertly draws from dazzling range material to produce a new understanding of how star images are produced and reproduced over time and to different ends." -- Kristen Hatch * Journal of American History *"Recycled Stars makes an original and sophisticated contribution to film and television studies and will be widely welcomed by readers and teachers. It is also illustrated with a delectable selection of stills that communicate the glamour and the sheer creepiness of the star images under discussion in equal measure." -- Ruth Barton * Journal of American Studies *"Desjardins covers [Gloria Swanson and Lucille Ball] and much more in this fascinating tome, which is richly illustrated with frame grabs from kinescopes, as she considers the shifting landscape of mid-20th-century female celebrity. Highly recommended. Lower-division undergraduates through faculty; general readers." -- G. A. Foster * Choice *"Well-written and using a rich variety of examples and methods, Recycled Stars is a useful and very readable addition to star studies, feminist media studies and film history." -- Ellen Wright * Celebrity Studies *"In addition to being multidisciplinary, this book demonstrates the importance of considering different elements of film studies together. Areas that were previously separate in film studies, such as stardom, fandom, and industrial factors, present a completely different understanding of the field when brought together—an understanding that could greatly benefit future research and study." -- Catherine Bednarz * International Journal of Communication *“Recycled Stars offers valuable insights into the relationships between stars and their publics, extending traditional scholarship by evaluating their impacts and consequences beyond a specific historical moment.” -- Patrick Kent Russell * Journal of American Culture *Table of ContentsAcknowledgments ix Introduction 1 1. "The Elegance . . . Is Almost Overwhelming": Glamour and Discursive Struggles over Female Stardom in Early Television 13 2. Norma Desmond, Your Spell Is Everywhere: The Time and Place of the Female Film Star in 1950s Television and Film 57 3. Maureen O'Hara's "Confidential" Life: Recycling Hollywood Film Stars in the 1950s through Scandalous Gossip and Moral Biography 99 4. After the Laughter: Recycling Lucille Ball and Desi Arnaz as a Star Couple 143 5. Star Bodies, Star Bios: Stardom, Gender, and Identity Politics 191 Conclusion 243 Notes 253 Select Bibliography 295 Index 305

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Book SynopsisTrade Review"This meticulously researched book expertly draws from dazzling range material to produce a new understanding of how star images are produced and reproduced over time and to different ends." -- Kristen Hatch * Journal of American History *"Recycled Stars makes an original and sophisticated contribution to film and television studies and will be widely welcomed by readers and teachers. It is also illustrated with a delectable selection of stills that communicate the glamour and the sheer creepiness of the star images under discussion in equal measure." -- Ruth Barton * Journal of American Studies *"Desjardins covers [Gloria Swanson and Lucille Ball] and much more in this fascinating tome, which is richly illustrated with frame grabs from kinescopes, as she considers the shifting landscape of mid-20th-century female celebrity. Highly recommended. Lower-division undergraduates through faculty; general readers." -- G. A. Foster * Choice *"Well-written and using a rich variety of examples and methods, Recycled Stars is a useful and very readable addition to star studies, feminist media studies and film history." -- Ellen Wright * Celebrity Studies *"In addition to being multidisciplinary, this book demonstrates the importance of considering different elements of film studies together. Areas that were previously separate in film studies, such as stardom, fandom, and industrial factors, present a completely different understanding of the field when brought together—an understanding that could greatly benefit future research and study." -- Catherine Bednarz * International Journal of Communication *“Recycled Stars offers valuable insights into the relationships between stars and their publics, extending traditional scholarship by evaluating their impacts and consequences beyond a specific historical moment.” -- Patrick Kent Russell * Journal of American Culture *Table of ContentsAcknowledgments ix Introduction 1 1. "The Elegance . . . Is Almost Overwhelming": Glamour and Discursive Struggles over Female Stardom in Early Television 13 2. Norma Desmond, Your Spell Is Everywhere: The Time and Place of the Female Film Star in 1950s Television and Film 57 3. Maureen O'Hara's "Confidential" Life: Recycling Hollywood Film Stars in the 1950s through Scandalous Gossip and Moral Biography 99 4. After the Laughter: Recycling Lucille Ball and Desi Arnaz as a Star Couple 143 5. Star Bodies, Star Bios: Stardom, Gender, and Identity Politics 191 Conclusion 243 Notes 253 Select Bibliography 295 Index 305

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Book SynopsisUsing continental philosophy and critical theory, Homay King returns to the original meaning of the virtual—which denotes a potential on the cusp of becoming—to offer a new way to understand how contemporary digital art transcends distinctions between digital and analog, abstract and tangible, disembodiment and lived experience.Trade Review"[A] bold and far-reaching attempt to theorize the potential of the virtual.... [T]his ambitious book reveals the power of cultural production to open up new ways of thinking and new directions out of the morass of the present." -- Alison Landsberg * Critical Inquiry *Table of ContentsAcknowledgments vii Introduction 1 1. Keys to Turing 18 2. Christian Marclay's Two Clocks 47 3. Matter, Time, and the Digital: Agnès Varda's Videos 71 4. Beyond Repetition: Victor Burgin's Loops 100 5. The Powers of the Virtual 125 6. Another World Is Virtual 161 Notes 179 Bibliography 191 Index 199

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Book SynopsisUsing continental philosophy and critical theory, Homay King returns to the original meaning of the virtual—which denotes a potential on the cusp of becoming—to offer a new way to understand how contemporary digital art transcends distinctions between digital and analog, abstract and tangible, disembodiment and lived experience.Trade Review"[A] bold and far-reaching attempt to theorize the potential of the virtual.... [T]his ambitious book reveals the power of cultural production to open up new ways of thinking and new directions out of the morass of the present." -- Alison Landsberg * Critical Inquiry *Table of ContentsAcknowledgments vii Introduction 1 1. Keys to Turing 18 2. Christian Marclay's Two Clocks 47 3. Matter, Time, and the Digital: Agnès Varda's Videos 71 4. Beyond Repetition: Victor Burgin's Loops 100 5. The Powers of the Virtual 125 6. Another World Is Virtual 161 Notes 179 Bibliography 191 Index 199

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Book SynopsisProviding heterogeneous accounts of the intersections between the fine art world with literature, jazz, film, and theater in New York, Paris, Milan, Brazil, and Cuba between 1959 and 1960, the contributors show this period to be pivotal in the culture and politics of Western Europe and the Americas.Trade Review"Excellent. . . . Breathless Days should be considered essential reading for those seeking a deeper understanding of a fascinating range of works created in a turbulent period of twentieth-century history." -- Anthony White * RACAR *Table of ContentsAcknowledgments vii Introduction / Serge Guilbaut and John O'Brien 1 1. Cahiers du Cinéma Interview / Jean-Luc Godard 22 Part I. Cheek to Cheek in Paris and New York 2. Marcel Duchamp: The Signature Machine—Identity, Authority, Dispossession / Hadrien Laroche 31 3. The Young and the Old / Richard Leeman 60 4. Redefining the Boundaries of Culture: The French Experience of Jazz / Ludovic Tournès 82 5. A Critical Season for Alan Katz / Éric de Chassey 99 6. The Cacodylic Mind: Francis Picabia and the Neo-Avant-Garde, 1953–1963 / Tom McDonough 112 Part II. Violence, Machines, and Bodies 7. The Paradox of Time: Nouveau Réalisme's Curious "Archaeology of the Present" / Jill Carrick 129 8. To Be an "Exemplary" Machine: Tinguely's Homage to New York / Mari Dumett 152 9. Naked Lunch and the Neighbor / Clint Burnbaum 177 10. Bodybuilding or Bodycrushing? From Art to Theater: From Bodies to Corpses, a Rhizomatic Meditation on the Contemporary West / Regis Michel 191 Part III. Time Is Longer Than Any Distance 11. Action Writing/Action Reading / Luc Lang 205 12. From the Genius in the Mountain to the Party in the Dark: Art, Cinema, and Cultural Politics at the Beginning of the Cuban Revolution / Antonio Eligio (Tonel) 211 13. Disorder and Progress in Brazilian Visual Culture, 1959 / Aleca Le Blanc 234 14. That Tingling Sensation: 1959 and William Castle's The Tingler / Kjetil Radje 255 15. Atopic Atomic: Picro Manzoni's Space-Age Subtext and the "Ins and Outs" of the Modern Intellectual / Carla Benzan 275 Selected Bibliography 313 Contributors 319 Index 323

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Book SynopsisProviding heterogeneous accounts of the intersections between the fine art world with literature, jazz, film, and theater in New York, Paris, Milan, Brazil, and Cuba between 1959 and 1960, the contributors show this period to be pivotal in the culture and politics of Western Europe and the Americas.Trade Review"Excellent. . . . Breathless Days should be considered essential reading for those seeking a deeper understanding of a fascinating range of works created in a turbulent period of twentieth-century history." -- Anthony White * RACAR *Table of ContentsAcknowledgments vii Introduction / Serge Guilbaut and John O'Brien 1 1. Cahiers du Cinéma Interview / Jean-Luc Godard 22 Part I. Cheek to Cheek in Paris and New York 2. Marcel Duchamp: The Signature Machine—Identity, Authority, Dispossession / Hadrien Laroche 31 3. The Young and the Old / Richard Leeman 60 4. Redefining the Boundaries of Culture: The French Experience of Jazz / Ludovic Tournès 82 5. A Critical Season for Alan Katz / Éric de Chassey 99 6. The Cacodylic Mind: Francis Picabia and the Neo-Avant-Garde, 1953–1963 / Tom McDonough 112 Part II. Violence, Machines, and Bodies 7. The Paradox of Time: Nouveau Réalisme's Curious "Archaeology of the Present" / Jill Carrick 129 8. To Be an "Exemplary" Machine: Tinguely's Homage to New York / Mari Dumett 152 9. Naked Lunch and the Neighbor / Clint Burnbaum 177 10. Bodybuilding or Bodycrushing? From Art to Theater: From Bodies to Corpses, a Rhizomatic Meditation on the Contemporary West / Regis Michel 191 Part III. Time Is Longer Than Any Distance 11. Action Writing/Action Reading / Luc Lang 205 12. From the Genius in the Mountain to the Party in the Dark: Art, Cinema, and Cultural Politics at the Beginning of the Cuban Revolution / Antonio Eligio (Tonel) 211 13. Disorder and Progress in Brazilian Visual Culture, 1959 / Aleca Le Blanc 234 14. That Tingling Sensation: 1959 and William Castle's The Tingler / Kjetil Radje 255 15. Atopic Atomic: Picro Manzoni's Space-Age Subtext and the "Ins and Outs" of the Modern Intellectual / Carla Benzan 275 Selected Bibliography 313 Contributors 319 Index 323

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Book SynopsisOffering a new queer theorization of melodrama, Jonathan Goldberg explores the ways melodramatic film and literature provide an aesthetics of impossibility. Focused on the notion of what Douglas Sirk termed the 'impossible situation' in melodrama, such as impasses in sexual relations that are not simply reflections of social taboo and prohibitions, Goldberg pursues films by Rainer Werner Fassbinder and Todd Haynes that respond to Sirk''s prompt. His analysis hones in on melodrama''s original definition--a form combining music and drama--as he explores the use of melodrama in Beethoven''s opera Fidelio, films by Alfred Hitchcock, and fiction by Willa Cather and Patricia Highsmith, including her Ripley novels. Goldberg illuminates how music and sound provide queer ways to promote identifications that exceed the bounds of the identity categories meant to regulate social life. The interaction of musical, dramatic, and visual elements gives melodrama its indeterminacy, making itTrade Review"Apropos of his homo-topics, Goldberg writes beautifully, in prose vulnerable and oppositional that elevates academic vernacular to a higher aesthetic plane.... Lucky for us, Goldberg’s decided we can’t have our Hitchcock without our Highsmith, and aren’t they a lovely pair. He writes about music in Hitchcock (something rarely considered) and explores how Highsmith thematizes music in her novels.... [Y]ou will trust Goldberg’s fast-paced, suspenseful ekphrasis and delight in reliving these extraordinary reversals on the page." -- Maxe Crandall * Lambda Literary Review *"Goldberg achieves a greater, more nuanced understanding of melodrama’s potential for artistic and philosophical expression, as well as its unique importance for the study of media, gender, race, and sexuality." -- Matthew J. M. Grant * Film Criticism *"Students of melodrama have long been drilled in the term’s literal meaning: music + drama. But before Jonathan Goldberg’s Melodrama, few have had the chance to take the music seriously. With a rare combination of musical expertise and critical acumen, Goldberg puts the pieces together in this book. . . . Exceptional. . . ." -- Ned Schantz * Crticism *"Melodrama offers a distinctively queer theoretical contribution to the extensive scholarly work on melodrama in film and literary studies. The book is also a form of critical address that seeks to think with works of art the author clearly identifies with and also identifies as practicing a homo-aesthetics that traverses genres, media, and time." -- Victoria Hesford * GLQ *Table of ContentsPreface ix Acknowledgments xvii Part I. The Impossible Situation 1. Agency and Identity: The Melodrama in Beethoven's Fidelio 3 2. Identity and Identification: Sirk—Fassbinder—Haynes 23 Part II. Melos + Drama 3. The Art of Murder: Hitchcock and Highsmith 83 4. Wildean Aesthetics: From "Paul's Case" to Lucy Gayheart 133 Coda 155 Notes 169 Bibliography 187 Index 197

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Book SynopsisThe contributors to this volume examine Asian video cultures—from video platforms in Indonesia to amateur music videos in India—in the context of social movements, market economies, and local popular cultures, showing how Asian video practices are central to shaping contemporary experiences and mainstream global media.Trade Review"Asian Video Cultures addresses a glaring omission in contemporary Western film and media scholarship in such a rich and imaginative way that it will give the book lasting significance as a fundamental reference across media studies. Featuring rich, thought-provoking essays and a major, agenda-setting introduction, this is a milestone collection." -- Meaghan Morris, coeditor of Gender, Media, and Modernity in the Asia-Pacific "Asian Video Cultures addresses the continent as an always-emerging formation, rather than just a region. By doing so, it is able to mount a series of powerful, ethnographically grounded theoretical provocations on contemporary media culture. We revisit ideas of participation and the public, the status of mediation in the bioinformatic world, globalization, and work. This outstanding collection helps us put into perspective the overly North American debate on digital media." -- Ravi Sundaram, author of Pirate Modernity: Delhi's Media UrbanismTable of ContentsAcknowledgments vii Introduction 1 Part I. Infrastructures 1. Video Documentary and Rural Public Culture in Ethnic China / Jenny Chio 35 2. EngageMedia: The Gado Gado Tactics of New Social Media in Indonesia / Patricia R. Zimmerman 54 3. Wei dianying and Xiao quexing: Technologies of "Small" and Trans-Chinese Cinematic Practices / Chia-chi Wu 72 4. Converging Contents and Platforms: Niconico Video and Japan's Media Mix Ecology / Marc Steinberg 91 5. In Access: Digital Video and the User / Nishant Shah 114 Part II. Intimacies 6. MicroSD-ing "Mewati Videos": Circulation and Regulation of a Subaltern-Popular Media Culture / Rahul Mukherjee and Abhigyan Singh 133 7. Documenting "Immigrant Brides" in Multicultural Taiwan / Tzu-hui Celina Hung 158 8. Bollywood Banned and the Electrifying Palmasutra: The Sensory Politics in Northern Nigeria / Conerly Casey 176 9. The Asianization of Heimat: Ming Wong's Asian German Video Works / Feng-Mei Heberer 198 Part III. Speculations 10. Politics in the Age of YouTube: Degraded Images and Small-Screen Revolutions / S. V. Srinivas 217 11. Pop Cosmopolitics and K-pop Video Culture / Michelle Cho 240 12. Videation: Technological Intimacy and the Politics of Global Connection / Joshua Neves 266 13. Staying Alive: Imphal's HIV/AIDS (Digital) Video Culture / Bishnupriya Ghosh 288 14. "Everyone's Property": Video Copying, Poetry, and Revolution in Arab West Asia / Kay Dickinson 307 Bibliography 327 Contributors 349 Index 353

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Book SynopsisHye Jean Chung challenges the widespread tendency among audiences and critics to disregard the material conditions of digital film production, showing how this emphasis on seamlessness masks the complex social, political, and economic realities of global filmmaking.Trade Review"Chung’s 'media heterotopias' could be of immense use as a strategic motivator of more work that is oriented toward activist, political stakes in the spatiotemporal mappings of yet unfolding digital age ecologies." -- Amy R. Wong * ASAP/Journal *"Media Heterotopias’ ambitious effort to 'reassert the materiality of global film production' serves as valuable encouragement to deconstruct the ever-more refined illusions of unity in international film production through new approaches in thinking and viewing. The breadth of ideas and the quality of research presented in Chung’s work regularly enlightens, just as it orients us towards the political stakes of filmmaking." -- Sarika Joglekar * Synoptique *"As a method of exploring and articulating the digital imaginary and fantasies of transnational or cosmopolitan other places, Media Heterotopias is an inspiring and intriguing accompaniment to the work of production studies and media industries scholars who focus directly on the issues and conditions surrounding digital global production, labor, networks, and practices." -- Dawn Fratini * Media Industries *Table of ContentsAcknowledgments ix Introduction 1 1. Heterotopic Media: Assembling the Global in Digital Cinema 37 2. Heterotopic Mapping: The Fall and Ashes of Time Redux 45 3. Heterotopic Modularity: Avatar, Oblivion, and Interstellar 75 4. Heterotopic Monstrosity: The Host and Godzilla 105 5. Heterotopic Materiality: The World and Big Hero 6 141 Conclusion: The Seams of (Post)Digital Media Heterotopias 177 Notes 185 Bibliography 209 Index 219

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Book SynopsisCatherine Russell uses the work of Walter Benjamin to explore how the practice of archiveology—the reuse, recycling, appropriation, and borrowing of archival sounds and images—by filmmakers provides ways to imagine the past and the future.Trade Review"Archiveology opens up yet more rich and very pertinent questions relating to film-making as an archival practice in which themes of time, memory and imagination are fluidly interwoven and fleshed out as new cinematic experiences." -- Davina Quinlivan * Times Higher Education *"Archiveology is a refreshing for film archivists looking to expand their horizons and better understand potential users. . . . Catherine Russell’s masterful explanations ensure that the book remains accessible to readers from all disciplines." -- Kristen E. Muenz * Journal of Contemporary Archival Studies *"Archiveology offers insightful analyses enlightened by Benjamin's legacy. . . . Catherine Russell adds authority to a new model of cultural intelligibility that we can use to rescue voices relegated to oblivion." -- Cesar Ustarroz * Found Footage *"Archiveology is. . . one of the few books of film theory and criticism that takes Benjamin seriously in all of his complexity, and, more importantly and innovatively, shows us the mechanics of what one can do with the concepts in an era of disturbingly unstable media." -- Joshua Wiebe * Film and History *Table of ContentsAcknowledgments ix Prologue 1 1. Introduction to Archiveology 11 2. Walter Benjamin and the Language of the Moving Image Archive 35 3. The Cityscape in Pieces 55 4. Collecting Images 97 5. Phantasmagoria and Critical Cinephilia 141 6. Awakening from the Gendered Archive 184 Epilogue 218 Notes 225 Selected Filmography 245 Bibliography 247 Index 261

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Book SynopsisAssembling a range of interviews, essays, and conversations, Sisters in the Life narrates the history of African American lesbian media-making during the past thirty years, thereby documenting the important and influential work of this group of understudied and underappreciated artists.Trade Review"Sisters in the Life is an act of reclamation, a means of shining a light on the critical work that these women have done with little recognition or fanfare. . . . For those who are invested in the history of representation, Sisters in the Life is worth adding to your bookshelf." -- Evette Dionne * Bitch *"This well-researched title is highly recommended for readers interested in African American, women's, LGBTQ, and general film studies." -- Sally Bryant * Library Journal *"Sisters in the Life moves uninterruptedly from strength to strength. Along the way, its stories are eclectic but interrelated, U.S.-centered but increasingly global, alert to ongoing inequities but inspired by past and present accomplishments— and by futures that look brighter all the time." -- Nick Davis * Film Comment *"In this academic but engaging anthology, contributors examine the important contributions of black lesbian filmmakers over the past three decades. Finally, filmmakers like Cheryl Dunye, Dee Rees, and Angela Robinson get their due. So too should Welbon (director of 1993’s famed Sisters in the Life: First Love.)" -- Jacob Anderson-Minshall * The Advocate *"This is an eye-opening study that seems likely to become a classic in its genre." -- Jean Roberta * Gay & Lesbian Review *Table of ContentsPreface. To Be Transparent: Seeing Directions and Connections in Black Lesbian Film / Alexandra Juhasz ix Introduction. The Sisters in the Life Archive Project / Yvonne Welbon 1 Part I. 1986–1995 Introduction / Yvonne Welbon 15 1. Birth of a Notion: Toward Black, Gay, and Lesbian Imagery in Film and Video / Michelle Parkerson 21 2. Narrating Our History: An Introduction / Thomas Allen Harris 26 3. Narrating Our History: Selections from a Dialogue among Queer Media Artists from the African Diaspora / Edited by Raùl Ferrera-Balanquet and Thomas Allen Harris, with Shari Frilot, Leah Gilliam, Dawn Suggs, Jocelyn Taylor, and Yvonne Welbon 29 4. Construction of Computation and Desire: Introduction to Yvonne Welbon's Interview with Pamela L. Jennings / Kara Keeling 47 5. Ruins and Desire: Interview with Pamela L. Jennings, July 27, 2012 / Yvonne Welbon 51 6. the book of ruins and desire: Interactive Mechatronic Sculpture / Pamela L. Jennings 63 7. A Cosmic Demonstration of Shari Frilot's Curatorial Practice / Roya Rastegar 66 8. Identity and Performance in Yvonne Welbon's Remembering Wei-Yi Fang, Remembering Myself: An Autobiography / Devorah Heitner 92 Part II. 1996–2016 Introduction / Yvonne Welbon 115 9. Producing Black Lesbian Media / Candace Moore 125 10. Stereotypy, Mammy, and Recovery in Cheryl Dunye's The Watermelon Woman / Karin D. Wimbley 11. Coquie Hughes: Urban Lesbian Filmmaker. Introduction to Yvonne Welbon's Interview with Coquie Hughes / Jennifer DeVere Brody 160 12. Stepping Out on Faith: Interview with Coquie Hughes, July 27, 2012 / Yvonne Welbon 165 13. "Invite Me In!": Angela Robinson at Hollywood's Threshold / Patricia White 176 14. Shine Louise Houston: An Interstice of Her Own Making / L. H. Stallings 191 15. From Rage to Resignation: Reading Tina Mabry's Mississippi Damned as a Post-Civil Rights Response to Nina Simone's "Mississippi Goddam" / Marlon Rahquel Moore 205 16. The Circuitous Route of Presenting Black Butch: The Travels of Dee Ree's Pariah / Jennifer DeClue 225 17. Creating the World Anew: Black Lesbian Legacies and Queer Film Futures / Alexis Pauline Gumbs 249 Acknowledgments 261 Selected Bibliography 263 Contributors 269 Index 273

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Book SynopsisDean Duncan provides a critical survey of the aesthetics of classical music in film. Exploring tensions between high art and commercial culture, he examines how directors quote themes and classical passages in genres ranging from the Soviet avant garde to Hollywood romances.Trade Review“Illuminating . . . original and provocative . . . in the vanguard of film music scholarship.”---—Kathryn Kalinak, Author of Settling the Score: Classical Music and the Hollywood Film

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Book SynopsisDean Duncan provides a critical survey of the aesthetics of classical music in film. Exploring tensions between high art and commercial culture, he examines how directors quote themes and classical passages in genres ranging from the Soviet avant garde to Hollywood romances.Trade Review“Illuminating . . . original and provocative . . . in the vanguard of film music scholarship.”---—Kathryn Kalinak, Author of Settling the Score: Classical Music and the Hollywood Film

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Book SynopsisExplores Cavell's writings. This book states that, after Cavell's celebrated reading of "King Lear" turned into a nightmarish meditation on Vietnam, he found a more audible voice. Here, the poetry of ideas and presence of mind that animate Cavell's writing receive readings attuned to the spirit of their composition and its enlivening powers.Trade ReviewStanley Cavell's American Dream moves from discussions of Cavell's philosophy to readings of Walker Percy, Harold Bloom, Shakespeare, Emerson, and contemporary novelist Jane Smiley, traversing institutional divides with a grace and lucidity which recalls the best writing of such stylistically-gifted critics as Hugh Kenner and Alfred Kazin. Rewarding and pleasurable to read. ---—R.M. Berry, author of Frank"Lawrence Rhu's wonderful volume on Stanley Cavell teaches us how to enjoy all Cavell's eloquent, casual, ceremonious, solemn, and high comic ways.---—David Mikics, University of HoustonStanley Cavell's American Dream is an insightful, original contribution to Shakespeare criticism, film criticism, and to our theoretical understanding of the relationship between the two great arts.---—William Rothman, editor of Cavell on Film and coauthor of Reading Cavell's The World ViewedRhu shows how Cavell's philosophy is inseparable from his interest in Shakespeare and Hollywood and so, indirectly, how the interests of an important philosopher are just like anyone else's, and how philosophy for Cavell represents one of the few remaining possibilities of expressing one's simultaneous affection for both Hamlet and North by Northwest.---—Miguel Tamen, author of Friends of Interpretable ObjectsA generous invitation for readers to profit from Cavell's Emersonian ways of combining Shakespeare's evergreen worlds with those of Holly wood's Golden Age.---—Stephen Mulhall, author of Stanley Cavell: Philosophy's Recounting of the Ordinary and editor of The Cavell ReaderThis book brightly illuminates the work of Shakespeare, Emerson and Hollywood melodrama and re-marriage comedy as well as the work of the thinker who has given us such extraordinary pathways into them.---—Sarah Beckwith, Signifying GodRhu's stated aim is to read Cavell's studies of Shakespeare and Hollywood and transcendentalism together, rather than separating them into disciplinary distinctness, as has been the standard. . . Recommended. * —Choice *A work for every Shakespearean—experts and amateurs, teachers and their students, whom this book will delight and instruct. Its eloquence and accessiblity make it ideal for graduate and undergraduate classes.---—John Tobin, coeditor of The Riverside Shakespeare

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Book SynopsisExamines the representations of masses - the crowd scenes - in Hollywood films from "The Birth of a Nation" through such popular love stories as "Gone with the Wind", "The Sound of Music", and "Dr Zhivago". This work then contrasts these with similar scenes in early Soviet and Nazi films.Trade Review"...Provide[s] fine, nuanced analyses of individual films but also absolutely convince[s] the reader that much more rewarding work taking this approach remains to be done. Highly Recommended." -Choice "[A] scholarly investigation..." -The Catholic World "An original, important and compelling study of how films have represented crowds and how these depictions in turn reflected, mobilized, made available or frustrated mass movements at key moments in cultural history." -- -James Morrison Claremont McKenna College "An excellent study, packed with original, illuminating insights about both particular films and cinema in general." -- -Lesley Brill Wayne State University

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Book SynopsisTable of ContentsIntroduction | 1 Part I: Origins 1. Dreams of a Writer | 11 2. Getting Started (1952 to Summer 1953) | 23 3. Two Programs, Two Movies (1952 to 1954) | 34 4. Original Dramas for Studio One (Summer 1953 to Spring 1954) | 46 Part II: The Television Program 5. A Visit to Foley Square (Spring 1954) | 57 6. “Twelve Angry Men” (Summer 1954) | 71 7. Gaining Momentum (Fall 1954 to Spring 1955) | 81 Part III: The Movie 8. Henry Fonda and the Deal for 12 Angry Men (Spring and Summer 1955) | 95 9. Developing the Screenplay (Fall 1955 to Spring 1956) | 103 10. Assembling the Team (Spring 1956) | 113 11. Six Weeks of Work (Summer 1956) | 122 12. Release and Reviews (Fall 1956 to Spring 1958) | 133 Part IV: The Defenders 13. New Directions (1957 to 1960) | 145 14. The Defenders (1960 to Spring 1962) | 155 15. The Defenders (Fall 1962 to 1965) | 166 16. After The Defenders | 179 Part V: The Journey of 12 Angry Men 17. A Life on Stage | 193 18. A Lesson in the Law | 208 19. A Masterclass in Human Behavior | 220 20. New Versions, New Meanings | 230 Epilogue | 239 Appendix: “Twelve Angry Men” (TV Featurette) | 245 Acknowledgments | 251 Notes | 257 Selected Bibliography | 291 Index | 297 Photographs follow pages 102 and 198

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Book SynopsisReading philosophy through the lens of Alfred Hitchcock’s Vertigo, Andrea Cavalletti shows why, for two centuries, major philosophers have come to think of vertigo as intrinsically part of philosophy itself. In doing so, Cavalletti brings out the vertiginous nature of identity.Table of ContentsForeword by Daniel Heller-Roazen | vii Incipit | 1 1 Vertigo Effect | 3 2 We Are Not Here | 34 3 Habit, Mask | 79 4 A Singular Rapture | 106 5 Chasm | 113 6 Surface | 130 Explicit | 147 Notes | 151 Bibliography | 177 Index | 197

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Book SynopsisThe kimono is a vibrant part of Japanese modernity, playing an integral role in literature and film in the twentieth century. This book is the first extended study to offer new ways of interpreting textual and visual narratives through ‘kimono language’ - what these garments communicate within their literary, historical, and cultural contexts.

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Book SynopsisThe kimono is a vibrant part of Japanese modernity, playing an integral role in literature and film in the twentieth century. This book is the first extended study to offer new ways of interpreting textual and visual narratives through ‘kimono language’ - what these garments communicate within their literary, historical, and cultural contexts.

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Book SynopsisInterrogates the intersections between cultural production, identity, and persuasive messaging that idealized inclusion and unity across Japan’s East Asian empire (1895-1945). Chapters emphasize the plurality and heterogeneity of empire, together with the contradictions and tensions of its ideologies of race, nation, and ethnicity.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisTells the story of how film-makers use and manipulate the appearance and performances of muscular men and women to enhance the appeal of their productions. The authors show how this practice evolved from the art of photography through magic lantern and stage shows into the motion picture industry.Trade ReviewWill immediately become the definitive treatment of its topic, a subject that no other work has had the ambition to tackle in such detail and range." —John Ibson, California State University, author of Picturing Men: A Century of Male Relationships in Everyday American Photography"Moving from the silent era to the post-Schwarzenegger age, David Chapman and John Fair’s book entertains and informs in equal measure. Few works will be able to touch the breadth and nuance of this work. Nor will they match the authors’ keen eye for detail and flair. In seeking to integrate, and highlight, the importance of muscles in film, Chapman and Fair sweep across national and transnational histories to explore the ongoing human fascination with athleticism. Be they Italians, Germans, Americans or everyone in between, movie goers have long looked to the chiselled body for motivation, information and solace. In exploring this interest, Chapman and Fair have produced a book that will likely serve as the reference work for years to come." —Conor Heffernan, University of Texas at Austin, Trustee of the British Society of Sport History"From Sandow to Schwarzenegger and beyond, Chapman and Fair’s survey is the definitive study of the built physique in film. Ably balancing the fan’s perspective with meticulous research, Muscle in the Movies is an essential contribution to our understanding of bodies in cinema." —Tolga Ozyurtcu, University of Texas at Austin, Historian of Lifestyle Sport"In Muscles in the Movies, John Fair and David Chapman demonstrate in fascinating detail how modernity has produced its own illusory image of the muscular body through photography and movie making. They illuminate for the reader how cinema was born muscled, flexing and fully fleshed such that Hollywood could cash in on images of assertive ideal masculinity by encouraging audiences to gaze in awe upon the human machine. The medium of muscle thus became an inherent part of action movies in the service of spectacle and celebratory culture. As the authors show so convincingly, it was the clever marriage of bodily form and function and the psychic tension it created that perfected this art of illusion for moviegoers and made muscle movies both popular and lucrative." —Patricia Vertinsky, School of Kinesiology, University of British Columbia, coauthor of The Female Tradition in Physical Education: Women First reconsidered

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Book SynopsisTable of ContentsIntroductory NotesBrakhage's Blacks – Nicky HamlynIt Within Itself: Mimetic Fissures in Brakhage's Object Collage/Time Paintings – Peter MudieBottom-Up Processing, Entoptic Vision and the Innocent Eye in the Films of Stan Brakhage – Paul TaberhamThe Eye and the Hand: Brakhage's Challenge to Ocularcentrism – Gareth EvansThe Renewed Encounter with the Everyday: Stan Brakhage and the Ethics of the (Extra)ordinary – Rebecca A. SheehanPerceiving War's Horizon in Stan Brakhage's 23rd Psalm Branch – Christina ChalmersStan Brakhage's Temporality, Disjunction and Reflexive Process – Stephen MooneyArt as Revelation: The Origins of a Sacred Calling – Marco Lori

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Book Synopsis

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